How do you create a magical world for Rodgers and Hammerstein’s Cinderella? William Ivey Long, who won the Tony Award for his costumes for the show, says you have to think of it as a period piece: “It’s a fairy tale. In fact, that’s the period: fairy tale.” Long has designed 330 sumptuous period costumes for Cinderella, which is presented in Anna Louizos’ equally sumptuous forest-inspired setting. “The scale of this show is big, because it’s a grand fairy tale,” says Louizos. “This is not story-theater. It’s a Broadway show.”
Both designers say they had long discussions with director Mark Brokaw for this contemporary telling of the traditional story, which features Rodgers and Hammerstein’s classic songs with a cheeky new script by playwright Douglas Carter Beane. “Mark wanted to create a whole new world that was unique to this production,” says Louizos. “Nature was very important; the thought that we would see Cinderella in the forest became a prominent component of the design.”
Louizos says she and Brokaw sifted through a lot of visual material to share their emotional response to this version of Cinderella. “There was this image that Mark kept going back to; one of the first things he showed me – I think it was from a fashion shoot – a photograph of chandeliers hanging in a forest.” In addition, Louizos says they were both struck by another photo: “There were these depictions of a home, but the ceiling was gone and you could see the trees and vines were creeping into the house.”
So, Louizos quite literally brought Cinderella into the woods. Cinderella, her stepmother and stepsisters live in a cottage, both surrounded by and invaded by the forest. “You can always sense nature around the house,” she says, “even the vines are crawling up and covering up some of the wallpaper.” When the scene shifts to the Prince’s palace: “It’s a more majestic depiction of nature. The trees that form the arches are kind of a silvery brown. I wanted to give it a slight metallic feel, or a shimmery feel to it.” And, of course, there are chandeliers in Louizos’ forest castle, just like the picture which served as inspiration.
William Ivey Long’s costumes – which reference medieval knights, the Flemish painter Breughel, and the French court of Catherine de Medici – are also inspired by nature. One of the main colors he uses is leaf green. “The whole world of Cinderella takes place in the forest,” he says, showing ink costume sketches in his Tribeca studio. “There are dragons, and, of course, going and collecting mushrooms. And when you start with the forest, that means everything’s growing, and flora and fauna, and so, by extension, butterflies and moths.”
Of course, butterflies and moths transform from caterpillars, and transformation is a big theme in Cinderella. Long has designed jaw-dropping costume changes in both acts, where Cinderella and her Fairy Godmother go from rags to ball gowns in the blink of an eye, right in front of the audience. How are these changes accomplished? Long won’t say: “I would have to kill you, if I told you,” he laughs, but he shows his initial sketches of how Cinderella’s costume morphs: “The idea is that all the changing is done by a magic wand spinning her around. So, I tried to include the spinning in all these sketches, so you constantly saw movement. And doesn’t that sort of look like you’re whipping up a merengue?”
Anna Louizos, of course, with the help of smoke and lights, has a pumpkin transform into a carriage. And her forest constantly shifts and reconstitutes itself into new settings. She says the basic idea of putting Cinderella in a world filled with moving trees has captivated audiences. “There’s something so breathtaking about seeing nature onstage,” she explains. “You can go outside the door of the theater and there’s nature, but somehow when you put it onstage, it creates a different visceral response in audience members.”
And, Louizos adds, she thinks this version of Cinderella is a fairy tale that will appeal to everyone: “We approached it as any other brand new musical. It’s not a children’s show; it’s a Broadway show that adults should be able to appreciate and enjoy and be entertained just as much as children would.”